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In this course, Rich Harrington and Abba Shapiro give beginning photographers a brisk look at using strobe lights in a studio setting—lessons that easily translate to the field and locations, inside and out. Learn why shooting with strobes and continuous lighting makes such a big impact on your photographs, and how to buy a good, affordable starter kit. Rich and Abba also show how to set your gear up, trigger your lights, and make modifications with accessories like reflectors, umbrellas, and soft boxes. Finally, learn how to make the most of what you have in a series of lighting challenges.
Abba, I'm following you so far about how the lights should be handled and working. But, right now we've got multiple lights together because we're going to do some multi-light setups. One of the things that I think a lot of people struggle with is, well how do I connect them all to my camera, right? >> Right. And, you would think that you need to put some sort of trigger on each light and, you don't. All of these lights, different manufacturers, but they all have one thing in common. One light can be set as a master light that can contribute the other lights and the other term is a slave light.
So, actually if you look at the back of any of these lights, there's actually a button labeled slave, and you want to activate that. >> And other manufacturers may have it called something different. The master slave relationship is just simply meant as a way of one thing's in charge and the other thing follows. perhaps a more PC term these days would be boss and employee light. But you know >> Yeah, so these would be the employee lights and this is the boss light. >> Yeah, so on the back here we have a little receiver that is going to sort of pick it up.
Much like how TVs have infrared receivers, we've got one on the back there. It looks a little bit different but mostly the same thing. And so, you're right now controlling one strobe and this strobe is just hooked up to the power pack. Now we haven't connected it to the camera yet, we'll be doing that soon. But what I want you to notice is how easy this is. Abba, go ahead and trigger the main light, the boss light. >> So, these are employee lights. >> Yep. >> And, as a mater of fact, all I'm going to do is press the trigger button here. It will flash this light. >> I'm going to look away so I don't get blinded.
>> And you'll notice that at the same moment these two will see that flash, and they'll pop at the same time We hear the beep, that means that all the lights are ready again. I can once again trigger it. >> It's his favorite part >> I love it when lights flash. >> So, this is really quite simple and this is the good news. And clearly illustrated here, three different manufacturers of lights. All working together, so obviously if you're buying a kit and everything comes that way, of course it's going to work. But, this is one of those technologies that's pretty standardized and we're going to explore other options later on like tether cables and using a command unit, right? >> Absolutely.
There's definitely ways that you can trigger light. You're not going to do it by hitting the button and trying to snap the picture at the same time. You're going to have something on the camera that's going to trigger all of these lights, and one is ultimately the boss, the employees, but you are probably the CEO, as you trigger the boss light. >> All right. So all this is going to be a great relationship. Remember, the camera's going to ultimately be in charge, of course, you are controlling the camera. When you trigger the camera, it's going to set off the primary flash, often called the master flash, and then it will trigger any other flashes that have been paired to it using that slave or dependent relationship.
So pretty clear here. The good news is, is this is very standard across manufacturers, and it doesn't take long to set it up. For most lights on all of these, it was just a button on the back, right? >> Right and now I do want to put in one caveat. >> Yep. >> it's important because this is optical, that the ambient light in the room is actually lower than the pop of the flash. >> And, and because we're recording a video about lighting, you might have noticed from the previous module where Abba was talking to you.
We actually dimmed down some of our background lights. because as we start to move into the photo shoot, we're going to start to dim the lights in the studio to light it more for a photo shoot as opposed to the video cameras that are shooting us. As we were getting ready we were having some interference so we had to adjust the ambient lighting level. But if that lighting level, let's say you were shooting outdoors under sunlight. There is a sensitivity dial on the back of the light, right? >> Well, it depends on the unit. >> Okay. >> And the key thing is, is that the flash has to be brighter than the ambient light.
And if it's not, it's not going to trigger it. And that's why we have other options. >> Yep. >> For triggering lights, for instance when you're outside. >> Excellent.
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